As I Walked Down New Grub Street
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THE SCIENCE and ART DEPARTMENT 1853-1900 Thesis
THE SCIENCEAND ART DEPARTMENT 1853-1900 Harry Butterworth Thesis submitted for the degree of Ph. D. Department of Education University of Sheffield Submitted July 1968 VOLUMELWO Part Two - Institutions and Instruments PART TWO INSTITUTIONS AND INSTRUMENTS CHAPTER SIX The development of facilities for the teaching of Science CHAPTER SEVEN The South Kensington Science complex CHAPTER EIGHT The development of facilities for the teaching of Art CHAPTER NINE The South Kensington Art complex CHAPTER TEN The Inspectors CHAPTER ELEVEN The Teachers CHAPTER TWELVE Students, Scholarships and Text-books. CHAPTER SIX THE DEVELOPMENT OF FACILITIES FOR THE TEACHING OF SCIENCE a) Schemes before 1859 i) The basic difficulties ii) A separate organizational scheme iii) A meagre response b) Provincial institutions in the early days i) Trade Schools ii) Mining Schools iii) Navigation Schools iv) Science Schools v) The arrangements for aid c) The Science subjects : general development i) Major divisions ii) A "newt' subject: Physiography iiz. 3 yS iii) Other "new" subjects: Agriculture and Hygiene iv) Relative importance of the "divisional' d) The machinery of payments on results in Science i) The general principles ii) Specific applications iii) The Departmental defence e) The organisation of the system of examining f) Abuses of the examinations system i) The question of "cram"" ii) The question of "security" g) The Science Subjects : "Pure" or "Applied"" ? i) Basic premises ii) Reasons for reluctance to aid "trade teaching" iii) criticisms of the "pure" -
Strategic Anomalies: Art & Language in the Art School 1969-1979
Strategic Anomalies: Art & Language in the Art School 1969-1979 Dennis, M. Submitted version deposited in Coventry University’s Institutional Repository Original citation: Dennis, M. () Strategic Anomalies: Art & Language in the Art School 1969-1979. Unpublished MSC by Research Thesis. Coventry: Coventry University Copyright © and Moral Rights are retained by the author. A copy can be downloaded for personal non-commercial research or study, without prior permission or charge. This item cannot be reproduced or quoted extensively from without first obtaining permission in writing from the copyright holder(s). The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the copyright holders. Some materials have been removed from this thesis due to Third Party Copyright. Pages where material has been removed are clearly marked in the electronic version. The unabridged version of the thesis can be viewed at the Lanchester Library, Coventry University. Strategic Anomalies: Art & Language in the Art School 1969-1979 Mark Dennis A thesis submitted in partial fulfilment of the University’s requirements for the Degree of Master of Philosophy/Master of Research September 2016 Library Declaration and Deposit Agreement Title: Forename: Family Name: Mark Dennis Student ID: Faculty: Award: 4744519 Arts & Humanities PhD Thesis Title: Strategic Anomalies: Art & Language in the Art School 1969-1979 Freedom of Information: Freedom of Information Act 2000 (FOIA) ensures access to any information held by Coventry University, including theses, unless an exception or exceptional circumstances apply. In the interest of scholarship, theses of the University are normally made freely available online in the Institutions Repository, immediately on deposit. -
Coversheet for Thesis in Sussex Research Online
A University of Sussex DPhil thesis Available online via Sussex Research Online: http://sro.sussex.ac.uk/ This thesis is protected by copyright which belongs to the author. This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the Author The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the Author When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given Please visit Sussex Research Online for more information and further details Elkington & Co. and the Art of Electro-Metallurgy, circa 1840-1900. Alistair Grant. A Thesis Submitted to the University of Sussex for Examination for the Degree of Doctor of Philosophy. September 2014. 2 I hereby declare that this thesis is solely my own work, and has not been, and will not be submitted in whole, or in part, to another University for the award of any other degree. Signature:……………………………………… 3 This PhD thesis is dedicated to my wife Lucy and my daughter Agnes. I would like to thank my wife, Dr. Lucy Grant, without whose love, encouragement, and financial support my doctoral studies could not have happened. Her fortitude, especially during the difficult early months of 2013 when our daughter Agnes was ill, anchored our family and home, and enabled me to continue my research and complete this PhD thesis. 4 ACKNOWLEDGEMENTS First and foremost, I would like to thank my supervisor Professor Maurice Howard. Having nurtured my enthusiasm for Art History as an undergraduate at the University of Sussex from 1983-1986, when I approached him, 23 years later, about pursuing PhD research into Elkington & Co. -
The Stourbridge School of Art and Its Relations with the Glass Industry of the Stourbridge District, 1850-1905
A PROVINCIAL SCHOOL OF ART AND LOCAL INDUSTRY: THE STOURBRIDGE SCHOOL OF ART AND ITS RELATIONS WITH THE GLASS INDUSTRY OF THE STOURBRIDGE DISTRICT, 1850-1905 by JAMES SCOTT MEASELL A thesis submitted to the University of Birmingham for the degree of DOCTOR OF PHILOSOPHY Department of History College of Arts and Law University of Birmingham April 2016 University of Birmingham Research Archive e-theses repository This unpublished thesis/dissertation is copyright of the author and/or third parties. The intellectual property rights of the author or third parties in respect of this work are as defined by The Copyright Designs and Patents Act 1988 or as modified by any successor legislation. Any use made of information contained in this thesis/dissertation must be in accordance with that legislation and must be properly acknowledged. Further distribution or reproduction in any format is prohibited without the permission of the copyright holder. ABSTRACT Founded in 1851, the Stourbridge School of Art offered instruction in drawing, art and design to students engaged in industries, especially glass. Using social history methodology and primary sources such as Government reports, local newspapers and school records, this thesis explores the school’s development from 1850 to 1905 and explicates its relationships with the local glass industry. Within the context of political, economic, social and cultural forces, the school contributed to the town’s civic culture and was supported by gentry, clergy and industrialists. The governing Council held public meetings and art exhibitions and dealt with management issues. Working class men attended evening classes. Women from wealthy families attended morning classes. -
Bernard Fleetwood-Walker (1893-1965) By
The Social, Political and Economic Determinants of a Modern Portrait Artist: Bernard Fleetwood-Walker (1893-1965) by MARIE CONSIDINE A thesis submitted to the University of Birmingham for the degree of DOCTOR OF PHILOSOPHY Department of History of Art College of Arts and Law The University of Birmingham April 2012 University of Birmingham Research Archive e-theses repository This unpublished thesis/dissertation is copyright of the author and/or third parties. The intellectual property rights of the author or third parties in respect of this work are as defined by The Copyright Designs and Patents Act 1988 or as modified by any successor legislation. Any use made of information contained in this thesis/dissertation must be in accordance with that legislation and must be properly acknowledged. Further distribution or reproduction in any format is prohibited without the permission of the copyright holder. ABSTRACT As the first major study of the portrait artist Bernard Fleetwood-Walker (1893- 1965), this thesis locates the artist in his social, political and economic context, arguing that his portraiture can be seen as an exemplar of modernity. The portraits are shown to be responses to modern life, revealed not in formally avant- garde depictions, but in the subject-matter. Industrial growth, the increasing population, expanding suburbs, and a renewed interest in the outdoor life and popular entertainment are reflected in Fleetwood-Walker’s artistic output. The role played by exhibition culture in the creation of the portraits is analysed: developing retail theory affected gallery design and exhibition layout and in turn impacted on the size, subject matter and style of Fleetwood-Walker’s portraits. -
The Internal Environment of the Glasgow School of Art by Charles Rennie Mackintosh
This is a repository copy of The internal environment of the Glasgow School of Art by Charles Rennie Mackintosh. White Rose Research Online URL for this paper: http://eprints.whiterose.ac.uk/91217/ Version: Accepted Version Article: Lawrence, R. The internal environment of the Glasgow School of Art by Charles Rennie Mackintosh. Construction History, International Journal of the Construction History Society, 29 (1). 99 - 127. ISSN 0267-7768 Reuse Unless indicated otherwise, fulltext items are protected by copyright with all rights reserved. The copyright exception in section 29 of the Copyright, Designs and Patents Act 1988 allows the making of a single copy solely for the purpose of non-commercial research or private study within the limits of fair dealing. The publisher or other rights-holder may allow further reproduction and re-use of this version - refer to the White Rose Research Online record for this item. Where records identify the publisher as the copyright holder, users can verify any specific terms of use on the publisher’s website. Takedown If you consider content in White Rose Research Online to be in breach of UK law, please notify us by emailing [email protected] including the URL of the record and the reason for the withdrawal request. [email protected] https://eprints.whiterose.ac.uk/ The Internal Environment of the Glasgow School of Art by Charles Rennie Mackintosh Ranald Lawrence University of Cambridge Abstract This paper discusses the Glasgow School of Art in the context of the wider history of the Victorian art school as a distinctive building type. -
Artists Teacher Scheme the New Art Gallery Walsall
Artists Teacher Scheme The New Art Gallery Walsall 2010 — 2011 The national programme of continuing professional development courses for artist teachers. - Birmingham School of Art - Birmingham Institute of Art & Design, Birmingham City University - The New Art Gallery Walsall - Ikon Gallery Managed by the National Society for Education in Art and Design (NSEAD) Financially supported by Arts Council England, The Arts Council of Wales and the Scottish Arts Council What is the Artist Teacher Scheme? The Artist Teacher Scheme offers artist teachers opportunities to re-appraise, reinforce, re-engage and research thinking and professional development as artists. It does this by extending awareness of the richness and complexity of contemporary fine art and by looking at the diversity of influences which inform practice. High levels of reflexivity are demanded of participants. The course is designed to lead onto the MA Art Practice and Education. Benefits of the Scheme Provisions of the Scheme • Renewing and increasing • Seminar facilities confidence in contemporary • Informed and supportive access thinking and practice as an artist to contemporary art practice • Generating new ideas • Tuition, critique and support • Encouraging self and peer learning from academic staff and • Increasing satisfaction by re- visiting artist lectures charging creative practice • Structured as well as informal resulting in more effective discussion and debate work in your personal studio • Peer led support networks work and in art education • An opportunity to • Developing a professional network show new work of artists, gallery and museum • Pathways to MA professionals and academic qualifications and further staff in higher education research opportunities Who can apply? • Teachers of art and design, with a graduate qualification in art and design, who currently work in primary, secondary, further or higher education. -
Emmanuel Cooper Archive
Emmanuel Cooper Archive (COOPER) ©Bishopsgate Institute Catalogued by Stefan Dickers, September 2019 1 Table of Contents Table of Contents p.2 Collection Level Description p.3 COOPER/1: Gay Art Archive p.5 COOPER/2: Art Projects p.88 COOPER/3: Gay Left Archive p.93 COOPER/4: Campaign for Homosexual Equality Papers p.108 COOPER/5: Scrapbooks p.126 COOPER/6: Gay Theatre Archive p.127 COOPER/7: Gay History Group p.131 COOPER/8: Portobello Boys p.132 2 COOPER Emmanuel Cooper Archive 1956-209 Name of Creator: Cooper, Emmanuel (1938-2012) potter and writer on the arts Extent: 28 Boxes and oversize items Administrative/Biographical History: Emmanuel Cooper was born in Pilsley, North East Derbyshire and studied at the University for the Creative Arts. He also achieved a PhD degree at Middlesex University. He was a member of the Crafts Council and the editor of Ceramic Review. Since 1999, he was visiting Professor of Ceramics and Glass at the Royal College of Art. He was the author of many books on ceramics, including his definitive biography of Bernard Leach that was published in 2003 (Yale University Press), and was also the editor of The Ceramics Book, published in 2006. In the early 1970s, he was also a cofounder of the Gay Left collective, and remained a prominent LGBT rights campaigner throughout his life. He also published several studies of LGBT art, including The Sexual Perspective and Fully Exposed: The Male Nude in Photography. As a potter, Cooper's work falls into one of two general forms. In the first his vessels are heavily glazed in a volcanic form. -
Exhibitions / Events March – May 2020 Ikon-Gallery.Org Free Entry Yhonnie Scarce
Exhibitions / Events March – May 2020 ikon-gallery.org Free entry Yhonnie Scarce Exhibition 9 April – 31 May 2020 Tower Room, Second Floor Please note the Tower Room is only accessible via a number of steps Yhonnie Scarce was born in Woomera, South Australia, and belongs to the Kokatha and Nukunu peoples. Working with glass, Scarce explores the political nature and aesthetic qualities of the material – in particular corresponding to the crystallisation of desert sand as a result of British nuclear tests on her homeland during 1956–63. For Ikon, she undertakes a five week residency before presenting a new work in the Tower Room. Organised by Ikon and TarraWarra Museum of Art with curatorial advisor Hetti Perkins. Supported by the Australian Government through the Australia Council, its arts funding and advisory body. 2 Yhonnie Scarce 1 Hollowing Earth (2017) Hand blown uranium enriched glass Courtesy the artist and This is No Fantasy Photograph by Janelle Low Ikon presents the most comprehensive UK Judy Watson exhibition to date by Australian Aboriginal artist Judy Watson, as part of an international tour developed in partnership with TarraWarra Museum Exhibition of Art, Healesville, Australia. 4 March – 31 May 2020 First Floor Galleries Born in Mundubbera, Queensland, Watson derives inspiration from her matrilineal Waanyi heritage, Launch Night often conveyed through collective memory, using it Wednesday 4 March, 6–8pm – FREE as a foil for the archival research that informs much of her practice. The latter spells out an unceasing and institutional discrimination against Aboriginal people, described by curatorial advisor Hetti Perkins as “Australia’s ‘secret war’”. -
Ikon Youth Programme: Slow Boat Launching Summer 2021
Ikon Gallery 1 Oozells Square Brindleyplace Birmingham B1 2HS 0121 248 0708 / ikon-gallery.org free entry / donations welcome Registered charity no. 528892 Ikon Youth Programme: Slow Boat Launching Summer 2021 IYP fly-post Slow Boat with Birmingham artist Foka Wolf, September 2018 For ten years Ikon Youth Programme (IYP) has steered Slow Boat around the canals of the West Midlands and beyond. A converted narrow boat, it is a unique floating space for IYP, local communities and artists to make and experience art in a stimulating and creative environment. With the support of Freelands Foundation, over the next three years (2021-2024) IYP will continue to navigate the waterways, collaborating with creative thinkers and makers to reimagine Slow Boat as a local art school. Set against the backdrop of funding cuts to arts education, we will expand the alternative curriculum offered by IYP, raising fundamental questions concerning the definition and relevance of art. “Support from Freelands Foundation affirms our belief as young people that an alternative arts education is integral to our learning. We hope to generate new ways of thinking that will result in positive conversations with art schools, transforming social narratives and building on radical histories that reflect our everyday experiences. We are all looking forward to the future discourse around this project, including the changing space of Slow Boat; a space of provocation, a space of transformation, a space of us.” Ikon Youth Programme, Birmingham Ikon Gallery 1 Oozells Square Brindleyplace Birmingham B1 2HS 0121 248 0708 / ikon-gallery.org free entry / donations welcome Registered charity no. -
Unitarian Members of Parliament in the Nineteenth Century
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Stirling Online Research Repository Unitarian Members of Parliament in the Nineteenth Century A Catalogue D. W. Bebbington Professor of History, University of Stirling The catalogue that follows contains biographical data on the Unitarians who sat in the House of Commons during the nineteenth century. The main list, which includes ninety-seven MPs, is the body of evidence on which the paper on „Unitarian Members of Parliament in the Nineteenth Century‟ is based. The paper discusses the difficulty of identifying who should be treated as a Unitarian, the criterion chosen being that the individual appears to have been a practising adherent of the denomination at the time of his service in parliament. A supplementary list of supposed Unitarian MPs, which follows the main list, includes those who have sometimes been identified as Unitarians but who by this criterion were not and some who may have been affiliated to the denomination but who were probably not. The borderline is less sharp than might be wished, and, when further research has been done, a few in each list may need to be transferred to the other. Each entry contains information in roughly the same order. After the name appear the dates of birth and death and the period as an MP. Then a paragraph contains general biographical details drawn from the sources indicated at the end of the entry. A further paragraph discusses religious affiliation and activities. Unattributed quotations with dates are from Dod’s Parliamentary Companion, as presented in Who’s Who of British Members of Parliament. -
Modern British and Irish Art Wednesday 28 May 2014
Modern British and irish art Wednesday 28 May 2014 MODERN BRITISH AND IRISH ART Wednesday 28 May 2014 at 14.00 101 New Bond Street, London duBlin Viewing Bids enquiries CustoMer serViCes (highlights) +44 (0) 20 7447 7448 London Monday to Friday 08.30 to 18.00 Sunday 11 May 12.00 - 17.00 +44 (0) 20 7447 4401 fax Matthew Bradbury +44 (0) 20 7447 7448 Monday 12 May 9.00 - 17.30 To bid via the internet please +44 (0) 20 7468 8295 Tuesday 13 May 9.00 - 17.30 visit bonhams.com [email protected] As a courtesy to intending bidders, Bonhams will provide a london Viewing Please note that bids should be Penny Day written Indication of the physical New Bond Street, London submitted no later than 4pm on +44 (0) 20 7468 8366 condition of lots in this sale if a Thursday 22 May 14.00 - 19.30 the day prior to the sale. New [email protected] request is received up to 24 Friday 23 May 9.30 - 16.30 bidders must also provide proof hours before the auction starts. Saturday 24 May 11.00 - 15.00 of identity when submitting bids. Christopher Dawson This written Indication is issued Tuesday 27 May 9.30 - 16.30 Failure to do this may result in +44 (0) 20 7468 8296 subject to Clause 3 of the Notice Wednesday 28 May 9.30 - 12.00 your bid not being processed. [email protected] to Bidders. Live online bidding is available Ingram Reid illustrations sale number for this sale +44 (0) 20 7468 8297 Front cover: lot 108 21769 Please email [email protected] [email protected] Back cover: lot 57 with ‘live bidding’ in the subject Inside front cover: lot 13 Catalogue line 48 hours before the auction Jonathan Horwich Inside back cover: lot 105 £20.00 to register for this service Global Director, Picture Sales Opposite: lot 84 +44 (0) 20 7468 8280 [email protected] Please note that we are closed Monday 26 May 2014 for the Irish Representative Spring Bank Holiday Jane Beattie +353 (0) 87 7765114 iMportant inforMation [email protected] The United States Government has banned the import of ivory into the USA.